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A Thesis Presented to the Faculty of Alfred University

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A Thesis Presented to the Faculty of Alfred University A Thesis Presented to The Faculty of Alfred University Compulsion: An Exploration of the Link Between Touch and Creation Rebecca A. Flis In Partial Fulfillment of the Requirements for The Alfred University Honors Program Date: May 13, 2014 Under the Supervision of: Chair: Coral Lambert Committee Members: Kate Dimitrova Dale Inglett 1 !Auguste Rodin once said “the artist must create a spark before he can make a fire and before art is born, the artist must be ready to be consumed by the fire of his own creation.” Using Rodin"s metaphor, my spark is the ceaseless curiosity I experience, which fuels my compulsion to create. My interest, inspiration and connection to my work is the result of a deep interest in history, technique and the tactile quality of the cast metal process. By exploring the relationship between the figure and tactility in the cast metal work of Classical Greece, Rodin, and myself, I add to my understanding of the link between touch and creation, further inspiring my artistic practice. !Four years ago when I first came to Alfred, I had it set in my mind that I was going to become a painter. Through the exposure to other mediums in Freshman Foundations, I gradually transitioned from painting to sculpture and eventually to cast metal. During the course of my Junior Foundry class, I became enthralled and encapsulated by the foundry process and found myself making work beyond the assignments given. The foundry process requires much hand-to-work interaction and I used this to my advantage in my art making, especially by exploring the tactility of the wax-working process. Iron Imprint (2012) (Fig. 1) explicitly shows this element. When I was shaping the bowl form in its wax stage, I continually pressed my fingers into the surface, leaving impressions of my fingertips as evidence of the making process (Fig. 2). As I continued making work however, I started to notice an allergic reaction that I was having to the materials I used. I was breaking out in hives (Fig. 3) and having trouble breathing, especially after the metal pours each week. As the semester continued, my health greatly deteriorated as my symptoms grew and I had a choice: 2 stop working with cast metal or find a way to use it that had less effect on my body, because with each exposure my reaction worsened exponentially. !This came about at the end of fall semester of my Junior year, when I was already committed to taking an independent study in the spring titled “Environmental Foundry,” a course that focused on ancient metal casting techniques. In the spring, however, as the independent study course progressed, I realized that the materials used with these ancient processes were from the earth; there were no industrial chemicals to bind the mold together, simply clay, grog and water. I had found the solution to my problem. My allergic reaction to the industrial mold-making materials, mainly the toxic resin used to bind the sand molds together, caused me to have an allergic response to the material. Through my allergic reaction, I was having a conversation with the material, albeit a negative one. My response to our disagreement was a forced adaptation to my situation. In all modes of creation, with the work that one makes, there are always problems that are encountered and one must learn how to address them appropriately. !I gravitate toward problem solving and out of all the materials with which I have worked, cast metal offers the greatest number of problems to solve. Problem solving to me is like a puzzle, but with an infinite number of ways of fitting the pieces together. How do I use what materials I have to do what I want to do? In the mold-making process, especially with part-molds, decisions need to be made about how many pieces to break the mold up into and where these breaks should occur to most efficiently capture the work with the least amount of finishing necessary once the object is cast into metal. This line of thinking is what draws me in and when I finally reach a solution, 3 the sense of satisfaction is unrivaled by any other part of the casting process. This brings me to ask myself: What compels me to create at all? Is it the object, the final result that drives me? Or is it the process, the motions I go through to eventually arrive at a finished piece that keeps me pressing forward? !As the spring semester of my Junior year carried forward and I delved deeper into my independent study, I became curious about the history of the metal casting process. This drove me to do further research and upon my discovery of the environmental effects and practicality of these processes, my interest in using them increased. Although my initial introduction to these practices was the result of academic requirements and physical need, knowing the history and seeing these ancient practices come back to life before my very eyes inspired me to work with renewed vigor. !Modern foundry practices can be traced back to ancient civilizations from across the globe. For example, ceramic shell casting is a modern mold-making technique in which the wax sculpture positive (the pattern) is dipped into a wet slurry mixture (Fig. 4), which is then coated with a silica powder while still wet (Fig. 5). This process of dipping and coating is repeated several times to create a stable “exoskeleton” mold around the pattern. The components of this type of mold-making can be viewed as a modern version of the ancient African dung-and-clay mold-making technique. The dung-and-clay method involves applying a wet mixture, consisting of dung, clay, crushed fired-clay grog and water, over the wax pattern in layers to create a similar exoskeleton (Fig. 6). Both the ancient and modern methods require multiple layers of mold material added on top of the original wax pattern to create the mold. 4 !Another example of a modern process that can be traced to ancient times is the sand-molding method. Today, sand mold-making is a process that involves taking a mold of a pattern, which can be made of many different materials including wax, clay, wood and even foam. A resin that sets up over time is mixed in with the sand and then the sand is rammed and shaped around the pattern (Fig. 7). The complexity of the pattern determines how many pieces make up the final mold. !The part-molding sand practice dates back to ancient Chinese bronze casting. In this ancient mold-making method, the original pattern was made from clay. Additional layers of clay were placed around the pattern and, once dry, are cut away in pieces (Fig. 8). The inner core was ground down and placed back in the middle of the sections of the outer layer. The hallow cavity between the inner core and outer mold pieces is where the molten bronze flows to cast the piece.1 The elements of this ancient method are present in today"s sand mold-making practices. The major difference, besides material, is that the pieces of the mold are made separately to form a whole instead of a whole that is then cut into pieces. While these present-day processes use modern materials, the basic elements stemming from the ancient processes remain unchanged. !I wonder why it is important to know the history of our practice? How does knowing the history of our practice and material influence our decisions regarding our practice? It can be argued that any work of art can be traced to something that came before it, whether or not the artist was aware of these connections to the past. In my case specifically, I feel a deeper connection with my material by knowing its history. The understanding of where my practice comes from helps me make decisions regarding 1 Smithsonian Institution, “Bronze Age Casting,” Smithsonianʼs Museum of Asian Art, https:// www.asia.si.edu/explore/china/bronzes/casting.asp (accessed 1 May 2014). 5 intention of specific artistic elements such as material, surface treatment, and coloration. Knowing what artists in the past have done gives me an unlimited catalog of references. !The knowledge of the material and process"s origins are embedded in the very practice itself. Almost five thousand years after the Chinese discovered bronze casting, I was using similar ancient techniques in my own art practice. While I breathed new life into these ancient practices, I became more aware that I am only one part of this continuum of knowledge. Where do I fall on the cast metal spectrum? Although the trajectory of my medium is apparently continuous, it is difficult to comprehend that I fall somewhere in the middle, because the future has not yet happened. Regardless of where I am placed, I am part of the lineage of art production and history. When viewed it in this manner, I am honored to be a part of a the larger continuum of cast metal. !During the spring semester of my Junior year, I was also enrolled in an art history course on ancient Greek and Roman art. Seeing the large-scale cast-bronze figures from this period, like the Seated Boxer (Fig. 9) — and the Roman marble copies of Greek bronze originals, the Diskobolos (Fig. 10) and the Diadoumenos (Fig. 11) — heightened my interest in ancient casting processes beyond those I was learning in my Environmental Foundry course. The calculated care taken to create the perfectly proportioned statues we studied in class caught my attention.
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